Obverse, Athena and Herakles in chariot with gods Reverse, Dionysos, Artemis, Apollo, Leto, Hermes
The equilibrium achieved in late black-figure amphorae is well represented by this work. There is a balance between light and dark in the areas of glaze and reserve as well as within the panels. The ivy and lotus-palmette ornaments embellish the upper part of the vase, while the zone of rays emphasizes the bottom of the body. The stateliness in the representation is most appropriate to the subject of Herakles' introduction into Mount Olympos.
Hoppin, James C. and Albert Gallatin. 1926. Corpus Vasorum Antiquorum, USA 1, Hoppin and Gallatin Collections. pp. 85–86, Gallatin pl. 36.2a–b, Cambridge, MA: Harvard University Press.
Beazley, John D. 1971. Paralipomena: Additions to Attic Black-Figure Vase-Painters and to Attic Red-Figure Vase-Painters [2nd edition]. p. 123, Oxford: Clarendon Press.
Lexicon Iconographicum Mythologiae Classicae (LIMC). 1984. Vol. 2: Aphrodisias-Athena. "Apollon," pp. 280, 288, nos. 777b, 857, pl. 259; "Artemis," pp. 709, 725, nos. 1149, 1320, pl. 554, Zürich: Artemis Verlag.
Kossatz-Deissmann, Anneliese, Brigitte Servais-Soyez, Fulvio Canciani, Giovannangelo Camporeale, Hans Peter Isler, Ingrid Krauskopf, Odette Touchefeu-Meynier, Marcel Le Glay, and Dr. Jean-Charles Balty. 1988. Eros-Herakles, Lexicon Iconographicum Mythologiae Classicae, Vol. 4. Herakles, no. 2900, Zürich: Artemis Verlag.
Klinger, Sonia. 2002. "An Attic Pyxis from the Acropolis in Athens and Some Observations on Deer Escorting Chariots in Attic Vase-Painting." Archäologischer Anzeiger, 2: p. 36, fig. 9.